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Monday, August 31, 2015

Alessio Premoli is a guitarist and producer from Milan that
has released three albums so far in his pocket. This year he has released his new album in which it's his third, entitled Even Silence Has Gone.
This is a very interesting and yet absorbing instrumental album Alessio has
released. It has this mixture between Ambient, Folk, Post-Rock with an essence
that is Dark, Melodic, and Cavernous sounds that makes you feel as if a pin
dropped out of nowhere.

There are ten compositions on the album. Nine of them as
I’ve mentioned are instrumental and one song with vocals. The music on Even Silence Has Gone brings the sounds
of Amon Duul II, Ennio Morricone, early Floyd, and Ash Ra Tempel. I could
imagine him recording some of the pieces for a David Lynch film in the mid
1970s or Alejandro Jodoroswky picture to fit the atmosphere of the music.

Alessio’s music makes you feel that you are inside a
person’s dream and imaging what they are going through. And he hits those
moments one by one. Pieces like; Untitled
#1 brings the spooky and haunting touches of Syd Barrett and the Spaghetti
Western scores of the Man with No Name trilogy into an interesting combination
as if you can imagine Clint Eastwood’s character arriving out of nowhere
looking gruff in his late ‘60s/early ‘70s, tired as hell, but he is ready for
one last showdown. And this time he would be the last one standing.

Painted Desert
brings the eerie flavors in for a nightmarish ambient essence as Alessio brings
the tension on his guitar as he adds the jazz and flamenco influences in there
to make you feel that you are isolated in sandy desert in the hottest part of
the day for survival and to keep yourself hydrated. He goes into the driven
tempos on the energetic Three Lines before
going into the styles of David Gilmour’s guitar playing with an echoing effect
on Old Tjikko while heading into the
Krautrock voyages on the Shipwrecks in
your Eyes.

I imagine this track was recorded in 1972-73 and you can
imagine both Amon Duul II and the Atom
Heart Mother-era of Pink Floyd had collaborated together on this composition
bringing not just the scariness, the imagination of seeing the ships going down
five fathoms below with no chance of survival. And the music on here captures
the moment and it is nailed very emotional and moody.

This is my third time listening to Alessio Premoli’s third
album. He’s very passionate on his music and where he wants to take the listener
to the visions and the minds he has in his brainstorming ideas to go along with
him. All in all, it is the soundtrack inside your head filled with cavernous
beauty and the genres of not just prog-rock, but the ambiance, the folksiness,
and the post-rock jazz world will soon take note.

Sunday, August 30, 2015

Among the pioneers of the New Wave of British Heavy Metal
movement (NWOBHM) including; Motorhead, Diamond Head, Saxon, Tank, Praying
Mantis, and Girlschool. They were one of the beginnings and gave birth to the
NWOBHM sound, but one of the bands that have been overlooked in the movement is
a trio that launched back in the beginning of the punk movement of ’77 in South
London by guitarist and vocalist Kevin Heybourne entitled Angel Witch.

Now when people think of the power trio’s they think of
Rush, Blue Cheer, and ELP. Angel Witch never got any recognition and received
mixed reviews when they released their sole self-titled debut on the Bronze
label back in 1980. This is for me one of my favorite NWOBHM albums and whether
you love or loathe it, it’s not just because it’s a transcendent debut and
kicks heavy butt, but the way they can bring the driven tempo’s into a fierce
and storming power in their sounds.

And 35 years later, it is for me an album that I will play
forever and ever. I love the opening title track that starts things off with a
gigantic bang as the band go into overdrive with an intense beat thanks to the
drumming of Dave Hogg. Not to mention the sing-along line “You’re an Angel Witch! You’re an Angel Witch!” The blaring guitar
lines between both rhythm and lead that Kevin does, is jaw-dropping and a
head-banging classic along with the midsection clapping militant stomp.

Most of the time it reminded me of a French-Metal group
called Trust. Man, do they nail it to a T. But there’s also a haunting side in
Angel Witch’s music that resembles some of the early Sabbath music in Master of Reality, Sabbath Bloody Sabbath, and Sabotage
in which keyboardist and bassist Kevin ‘Skids’ Riddles brings to the
cornerstone of the band’s music.

Songs like Gorgon starts
off with an ambient terrifying keyboard and guitar introduction that almost
could have been used in the 1981 adult animated sci-fi cult classic, Heavy Metal before kicking into high
gear in the styles of Sabbra Cadabra
while the blaring section go into a signature of ¾ which is interesting for
Angel Witch to step into for a relaxing section and punching drumming sounds
that Dave Hogg does on Free Man,
gives the band a calming yet emotional touch as Heybourne goes into the realms
of Iommi on his guitar solo.

All of a sudden, they kick off into high gear in the styles as
if Iron Maiden went into a Proto-Thrash Metal composition that I can imagine the
early days of the Bay Area sounds from bands such as Metallica and Megadeth
looked up into with Sweet Danger. The
nightmare continues to linger on with a seguing into the tracks from Angel of Death which again, carries the
doom metal approach of Sabbath and Heybourne sounding like at times Bruce
Dickinson and then closing off into the night in an essence of a slowed-down
melody of the Devil’s Tower that
Kevin just nails it for a short instrumental piece and fades off into the
night.

I have listened to Angel Witch’s sole self-titled debut
about 12 times and for me they deserve some recognition. And with help from
people like Malcolm Dome who gave it an astounding review in Sounds Magazine
and DJ Neal Kay who was the master and helped get some of the bands some
recognition at the Prince of Wales pub which was known as the Heavy Metal
soundhouse in the late ‘70s in Kingsbury which was located at the northwest of
London. He put the band on a compilation on volume one entitled Metal for Muthas.

But listening to it again, it makes you understand why Angel
Witch were ahead of their time and never got any appreciation. So it’s time to
dust off the album and play it up to maximum volume to get ready for a knockout
amazement of the overlooked yet underrated sound of a band that is going to
give you what they got in full driven momentum.

Friday, August 28, 2015

It’s been eight years since Anekdoten released any new music
or a new album. Nicklas Barker is a very busy man when it comes to projects
alongside Anekdoten including My Brother the Wind and as a composer for a
horror film to follow in the footsteps of Fabio Frizzi, Agitation Free, and Goblin entitled, El Ultimo Fin De
Semana.

Not to mention the soundtrack group, Morte Macbre. This year, the
group are back with a new album since 2007’s A Time of Day. Until All The Ghosts Are Gone is a welcoming return
to the band’s music and let me just say that I’ve embark on something special
yet hypnotic to the cosmic outer limits that have taken me to a whole new
level.

Mind you, I’m new to Anekdoten’s music since hearing their
2-CD compilation back in 2009 of Chapters
which covered their history of their first five album and unreleased material.
This year, I’m getting back on the wagon of their music and listening about
three times of their new album, I was very impressed of how they bring the
Progressive Rock genre to a gigantic crunch and making sure the flames of King
Crimson doesn’t burn out and making it go for years and years to come.

Opening 10-minute track, Shooting
Star begins with an ambient/atmospheric introduction between the keyboards done
by Anna Sofi Dahlberg before setting to hurtle through the milky-way cosmos. The
band are going into a heavier territory filled with psych-hard rock guitars,
mellotron’s galore, and very much like a space rock adventure before settling
into the Steven Wilson Insurgentes-era
that would have made the master proud.

Get Out Alive goes
into a heavier rock approach in the styles of Pink Floyd’s pre-Dark Side-era and a bit of Astra flown
in to capture the calmer sounds thanks Nicklas’ guitar adding a heavenly-like
approach as bassist Jan Erik Liljestrom takes on the vocals. I love that
midsection that Barker and Jan followed by drummer Peter Nordins and Anna’s
keyboards head back into the outer limits for an ascending voyage as Barker’s
guitar both lead and rhythm, breathes into a higher yet climbing melody.

Theo Travis (Soft Machine Legacy, Steven Wilson, and The
Tangent) appears as a guest on Flute on two of the tracks on the album. On If It All Comes Down to You, it has a
jazzier approach as Theo goes into the sounds of Ray Thomas and Peter Gabriel
in a waltz tempo as Anekdoten give Theo a chance to shine while the late ‘60s/early
‘70s essence comes in full circle on the closing track, Our Days are Numbered.

This composition is I think, at their best. It’s immense,
stirring, and propelling instrumental piece. It also let’s Anekdoten do some
mind-boggling improvisations between each other on their instruments followed
by Gustav Nygren’s blasting saxophone work that is an homage to Dick Parry
(Pink Floyd), John Coltrane, and Bernie Living (Manfred Mann Chapter Three).

Gustav makes you feel that you are walking alone in a darker
alleyway and imagine if someone is following you. The music in the midsection
captures the tension and follows Gustav to see where he would blast at the
right moment and bring it to a standstill with an alarming and blaring moment.

It is a proud return for Anekdoten to release some
mind-blowing music that will make you probably want to take note. It’s a band
that may or may not be for the faint of the heart. After listening around the
fifth time now, Until All The Ghosts Are
Gone is the band unleashing not just a masterpiece, but a journey that will
take you unbelievable worlds that you haven’t seen before from beginning to
end.

Monday, August 24, 2015

Since their formation fifteen years ago, The Orient House
Ensemble released their eighth album this year entitled, The Whistle Blower. Saxophonist, Accordionist, Guitarist, and
controversial figure, Gilad Atzmon (Ian Dury & the Blockheads, Robert
Wyatt, Sinead O’Connor, and Paul McCartney. He also performed on Pink Floyd’s
farewell album last year entitled, The
Endless River) brings Jazz to a whole new level of bringing the essence of
John Coltrane into his music that gives it power and sound.

And with this album, in which its released on Atzmon’s
label, Fanfare Jazz, and distributed in the states by MoonJune Records, it
gives it a Bebop sound that resembles that could have been recorded in 1965. He
brought along musicians including Frank Harrison on Keyboards, Piano, and
Vocals; Chris Higginbottom on Drums and Vocals; and Yaron Stavi (Mark Wingfield,
David Gilmour) on Double Bass, Electric Bass, and Vocals. And guests vocalists
Tali Atzmon and Antonio Feola.

In the liner notes, Gilad tells the listener that the
compositions are four things, “Love,
Nostalgia, Devotion, and Simplicity.” Not to mention the six centerpieces
on the album that will make you want to take note on. The opening track Gaza Mon Amour, is an awakening track. It
has a middle-eastern sound that at first starts off with a powerful vibration
that will make get into the groove for an intense dance, and then the melody
smoothly changes into Atzmon’s homage to the late, great John Coltrane. Gilad
also shows a mellower side and almost as if he’s giving Kenny G a message on
how a real ballad is supposed to sound like to a “T”.

The Romantic Church give
Frank Harrison a chance to show a lot of beauty, passion, and tender concepts
he would bring to the sound for a slowed-down beat. Frank carries some of the
touches of Vince Guaraldi and McCoy Tyner. It’s almost as if he is following in
the steps of Vince’s music and taking it into those areas while the 11-minute spiritual
composition of Let Us Pray is a
wonderful essence and tribute to John Coltrane’s A Love Supreme-era.

It’s almost as if Gilad wrote it as a continuation of the
classic album and seeing where he wants the members to go into for amazing
improvisations between Yaron, Chris, and Gilad himself. He moves into his
soprano sax for a calmer side on Forever,
but then, he goes into his accordion into the main stage for The Song. You can imagine yourself in
1950s Paris in a Black & White film done by Francois Truffaut, walking
around the Seine around Midnight and being moved into the movie inside your
head.

Elsewhere, they go into a humoristic touch of the lounge-era
as Gilad’s wife Tali, and Antoine Feola doing the vocals on the closing title
track. Begins with a spoken French introduction as Tali doing soothing
vocalizations in the style of Combustible Edison’s Miss Lily Banquette. It
feels like it could have been used in Terry Gilliam’s 1985 Sci-Fi classic, Brazil. But you could tell they are
having a blast and not to mention the unexpected moments with wolf whistles,
and organ-sound to create the poking fun of easy listening music of the ‘50s and early '60s.

The Whistle Blower is
a wonderful and spectacular Jazz album I’ve listened to from start to finish. Since
re-discovering Jazz when I was in College studying on my degree in Jazz Studies
and falling in love with the music of John Coltrane ten years ago, this is an
amazing album that would have the master proud. I have to listened to this
about three times now and it is a real return to what Jazz music is all about.

Friday, August 21, 2015

Formed ten years ago in their hometown in Ohio, The Receiver
are a duo of the Cooper brothers considering Casey on Keyboards, Bass, and
Vocals. Along with Jesse on Drums and Vocals. They have released so far two
albums (Decades & Length of Arms). And this year, they
have released their new album entitled All
Burn which is released on the Kscope label. When I first heard this, I knew
something special and moving had come across my ears the moment I put on their
third album from start to finish.

It’s a flavor between the sounds of Indie and Dream Pop
followed by the Progressive sounds that blends in very well between the three
genres. Both Jesse and Casey have done a spectacular job on here as they are
following in the footsteps from the sounds of: Pink Floyd, Dungen, Sigur Ros,
and Radiohead with an electronic vibration that will make you amazed and in awe
on what you will expect from the moment you put on All Burn.

Songs like the mellow and poignant April Blades and the opening track Drift, sees The Receiver going into a mourning/cavernous sounds that
shows them going into the wonders of This Mortal Coil. But it has a Beatle-sque
arrangement in the styles of the Abbey
Road sessions as if they had recorded it in the early ‘80s with an
ascending groove. To Battle an Island
starts off at first an homage to the sounds of the Video Game music you would
hear as a kid back in the old Nintendo-era to have a futuristic beginning
before it relaxes and then into high gear with a compelling beat that makes it
not just an unexpected moment, but the way the brothers do it right in a
Floyd-like melody.

Since I’ve mentioned about the Floyd, the influence is still
there. And The Receiver brings it to a sweet and emotional dreamy-pop
combination as if both the Floyd and the OK
Computer-era of Radiohead had worked together to create a spellbinding yet
elegant composition for Dark Matter
while the title track brings a futuristic taste as the brothers go into a pleasant
drive into the sunset for a sonic texture journey.

I have listened to All
Burn about eight times now. And The Receiver have brought a lot of hope and
ideas into their music and seeing where they will go into next. While this is
an introduction for me of discovering their music this year, I hope to look
into their previous catalog. Kscope have brought something special, hypnotic,
electronic, and symphonic pop that will capture the Indie, Dream, and
Progressive-Pop to a different level.

Wednesday, August 19, 2015

This amazing band from Richmond, Virginia in which they
formed back in 2006 by performing music for keyboardist Mike Visaggio’s solo
album, Starship Universe, has finally
brought a lot of joy in my ears and whilst this is my first time listening to
their music, Kinetic Element brings potential and beauty in their sound. With
the elements of Symphonic Progressive Rock in the footsteps between Genesis,
Yes, and ELP, their new album Travelog
released this year on the Melodic Revolution Records label and follow up to
their 2009 debut, Powered by Light,
it’s storytelling at its finest as if it’s set during the medieval and
renaissance-era.

Alongside Mike Visaggio as a keyboardist, the band also
considers Tod Russell on Guitar and Triangle, Michael Murray on Drums,
Whistling, and Percussion and Mark Tupko who replaces Len Dupika on Bass. There
are three guest vocalists on the album that include Dimetrius LaFavors of Odin’s
Court, Michelle Schrotz of Brave, and Mike Florio of the Mass Dream Project.

The tracks are clocked in between 10, 17 and 20-minutes long
that make it as I’ve mentioned earlier in the introduction, very much a
story-telling adventure on the compositions written by Mike Visaggio and Tod
Russell. The 20-minute opener, War Song
starts off with an Organ and Bass improvisation melody followed by the drums coming
in with the ambient/atmospheric introduction throwing into the blender that
resembles the essence between Triumvirat meets Styx’s The Grand Illusion-era before Dimetrius LaFavours comes in on the
vocals.

I’ll admit, his voice is not bad. And even though I’m not
crazy about it, he can hit those notes very well and nails the song perfectly
and his voice resembles at times an earlier version of Tommy Shaw as if it was
a continuation of Fooling Yourself (The
Angry Young Man). Kinetic Element show a softer side into their touches of
classical yet elegant beauty from the nylon strings into the cooling breeze for
a relaxation of the title track. Tod carries the essence between Mason
Williams, John Williams, and Steve Howe on this track.

He shows a lot of his inspirations for the elements between
the compositions and shows it very well before he moves into the acoustic
guitar styles of Anthony Phillips and Steve Hackett. But then the group head
back into the orchestral rock voyages with Into
the Lair. It starts off with heavy rhythm guitar, mellotron, vocalizations,
and lively drums that starts in the styles of the score to the 1999 film, The Virgin Suicides before it moves in a
bright-like essence with Organs, Guitar, Synths, and Drums filling in the void
as Michelle takes on the vocals as she shines through on the piece that reminiscences
between French duo Air, Yes, and Kayak.

Mike Florio of the Mass Dream Project comes into the picture
with the breathtaking essence with Her. It
begins with Visaggio’s Piano concerto in the styles of Tony Banks before it
heads into the dreamy landscapes that keeps it flowing into Rock Progressivo
Italiano sound from Locanda Delle Fate and the energy of Van Der Graaf Generator,
but with the lyrical surroundings from Peter Hammill’s roots.

The album closes
with Vision of a New Dawn. This shows Kinetic Element at their best. Going from a
different melodic time signature between Guitar and Bass before the solos
increase to the level from Todd Russell as he extends his virtuosity before
LaFavors vocals bring a chance to see a new day and a new beginning to see
where the road will go next for a sun rising momentum.

And then the last
7-minutes is Mike going into a brilliant concerto on his keyboards to pay tribute
to Rick Wakeman as if he was writing a sequel to the King Arthur story that
makes it powerful, epic, and raw. I really had a blast listening to Travelog. And this is my eighth time listening to their second
album. I have to admit I’m not crazy about Kinetic Element, but they really
have brought a lot of potential for me on my introduction of their music with their second album.

The
Progressive Rock genre is still growing strong and its flame will never go out.
This here, is Kinetic Element’s finest hour. So if you love Kayak, Styx, Yes,
ELP, Genesis, and Triumvirat, then check out Travelog.

Sunday, August 9, 2015

For me, I have a soft spot of the Female-fronted Metal bands in
the Progressive and Symphonic sounds. Whether it’s Edenbridge, Ancient Bards, Amberian
Dawn, Arven, Within Temptation, and Delain to name a few, they are my cup of
coffee to show where they can take it up a notch. When I first heard Edge of
Paradise, I was jaw-dropped to the floor.

This is their second album released this year on the Pure
Rock Records label in which it’s their follow-up to their debut, Mask along with their debut EP, A Perfect Shade of Black. They have been
around since their formation back in 2011 and have toured in the West Coast
states three years ago and I hope their new album Immortal Waltz will finally get the band a lot of hope tour a lot not
just in the West Coast, but everywhere to spread the word-of-mouth and
recognition they deserve.

The band considers; Margarita Monet on Lead Vocals and
Keyboards, David Bates on Guitars, John Chominsky on Drums, and Nick Ericson on
Bass Guitar. It’s My Show is a real
killer as you can imagine yourself inside the dystopian circus as Margarita
being the master of ceremonies in the styles of a pleasant nightmarish
experience in her vocals as if she is almost following into the footsteps of
Alice Cooper.

But the title track, it is in the styles of Bigelf meets
Haken in a Doom-Melodic-Symphonic Metal twist. David Bates nails it through the
rhythm on his guitar and Monet herself goes into the insanity of her voice as
if she is giving the listener to let her go inside the insane asylum of where
the nightmare still continues. It has a Tim Burton feel of a score of the waltz
section that the madness is about to begin for the demons to be burned to a
crisp.

Rise for the Fallen
is an increasing yet exhilarating composition. And you can find their first music
video which it’s up on YouTube, is a driven turned classical momentum from the
rhythm section thanks to David’s intense riffs, John’s mid-tempo drumming and
Margarita going nailing it each moment from the band to see where the members
are going in which direction her vocals take into.

The four tracks, (Perfect
Shade of Black, Ghost, In a Dream, & Break Away) were originally on the debut EP. And there’s a bonus
track in which they cover the Dio-era of Black Sabbath (Children of the Sea) is a wonderful tribute to the legend and
knowing the torch of Ronnie James Dio is still influential and inspiring a lot of
up-and-coming hard rock and heavy metal musicians to let him know that the
spirit is flowing and ascending the legacy.

And Edge of Paradise did a spectacular take in almost a
sing-along fanfare touch of the piece. But they nailed it in an orchestral way
thanks to the keyboards in the string section format of an epic proportion in
the right way. I have to say this, I’m very impressed of what

I’ve heard from
start to finish. Edge of Paradise have got something in their music.

And
whether you love it or hate it, they are soon going to be one of my favorite
bands in the Metal community to show that the genre is still trucking and
revving the symphonic engines! And in the words of Marvel’s Thor, “And though lightning be fire, yet it must
answer thunder’s call.”

This was a big unexpected surprise for me when I first heard
the music of a 10-piece group. Yes, I said 10-piece line-up of a group from
Norway called, Gentle Knife. And this year, they have released their sole
self-titled debut concept album and it’s a real outstanding winner. There are
two singers both male and female and eight musicians to go along with it.

It’s really an ambitious and challenge to have a decet
line-up here, but from the moment I listen to their debut, I knew I saw hope
for them and it is perhaps a wonderful combination. The story of the album is
about an adventurer going into the forests without any chance of coming back
and the eight compositions tell the story of what happened to the character and
how the adventurer went into a demise by going in without no turning back.

The music itself is a darker cavernous place filled with
Prog and Jazz into a gigantic blender. I can hear the essence of King Crimson, Pink
Floyd, Van Der Graaf Generator, and White Willow thrown into the mix. And
Gentle Knife have done their jobs right to carry the three bands and letting
them know that they have their backs and carrying the flaming torch to see
where the roads will go into.

Our Quiet Footsteps
has that Crimson vibe and the haunting sax rhythm in the styles of David
Jackson followed by a crunching guitar solo, militant snare drum and moog
finale while the haunting ballad of Beneath
the Waning Moon, captures a mystical atmosphere between the Mellotron,
lukewarm flute solo, jazzier tone, and Floyd-sque guitar improvisations that makes
the track influential.

Melina Oz’s voice resembles the sounds of Allison Williams
(Mellow Candle), Annie Haslam, Sylvia Erichsen (White Willow), and Kate Bush. I
just love how Melina voice carries on like a shining diamond and the male
counterparts from the group help her out and decide to see where she wants to
take them into next. Epilogue: Locus
Amoenus, has a spooky ambient introduction through the keyboards in the
styles between the Wish You Were Here-era
of Pink Floyd, Tangerine Dream, and Goblin. It gives it a chilling yet haunting
call of no return.

I just love what they had done on this track. It is almost
as if they had done this back in 1980 and recorded this for either between a
John Carpenter or Dario Argento movie and the music sets the tone to see where
the characters go into and Gentle Knife nail it at the exact moment. And the
track, Coda: Impetus reminded me of the
Permanent Waves-era from Rush with
the complex changes between keyboards, bass, drums, and guitars to give it an
alarming siren that you would never expect whilst ending in a Jazz finale.

Perhaps one of my favorite track is the 10-minute opener Eventide. I love the fanfare introduction
done in the style of Premiata Forneria Marconi’s Storia Di Un Minuto-era before going into a mid-tempo piano
concerto and calming folk-like surroundings that gives it the ominous feel of
being alone but finding hope to survive. With a horn section and virtuoso
guitar and calming rhythms, they know what they are doing.

This is my third time listening to Gentle Knife’s music and
the 10-piece have accomplished a brilliance and different passages in the
compositions that are quite unexpected. So if you love White Willow, Rush, Pink
Floyd, Van Der Graaf Generator, and King Crimson and if they want to share with you a hot and spicy burrito, then sink into the rivers of the
sounds of Gentle Knife.

Wednesday, August 5, 2015

“Upon the seventh
seasick day/we made out port of call/A sand so white, and sea so blue/no mortal
place at all.” The lyrics from their third album have always send chills
down by spine whenever I would put it on from start to finish. The song about
death and sacrificing their lives on the line as their Captain of the ship has
lost it. And knowing there is no turning back. That and the release of the 2-CD
set of the reissue of Procol Harum’s A
Salty Dog has proved to be another crowning achievement from Esoteric
Recordings.

Originally released in 1969 on the Regal Zonophone label, Procol
Harum were finally having the ball rolling after the release of their first two
albums (their sole self-titled debut and Shine
on Brightly) and knowing the word-of-mouth and international acclaim thanks
to A Whiter Shade of Pale, it was
going to be another powerful adventure that would lie just around the corner.

And with Ken Scott as an engineer and assistant on most of
the tracks who would later work with David Bowie, Supertramp, and Lou Reed to
name a few and Matthew Fisher on the production realm, it was a perfect
combination. Not to mention the cover re-design of the cigarette of the Player’s
Navy Cut logo, it is one of another crowning achievements in the history of
their career.

Songs like the downtown 12-bar blues shuffle in the styles
of Cream’s Fresh Cream-era of Muddy
Waters’ groove from Robin Trower’s harder edges from Clapton and harmonica
blaring through Gary Brooker’s vocals in which it was recorded at the Rolling
Stones old rehearsal rooms in Bermondsey Street. I could tell that they are
having a grand time of Trower’s composition and almost as if the Blues is in
his blood to take it home for Juicy John
Pink.

The song also was engineered by Rolling Stones late pianist,
Ian Stuart. The homage to the writings of Randy Newman is evidential from Keith
Reid’s writing as he takes it up a notch with the blaring yet eruptive roar of The Devil Came from Kansas. And for Robin,
I have to admit, he is nailing it through the rhythm and lead section on his Guitar
just to give it that powerful crunch between B.J. Wilson thumping drum sounds
and Brooker’s piano/vocals to nail it bit by bit.

Matthew Fisher comes into the picture to bring his vocals
for a bit of Folk. With Boredom,
which would later be covered by Tea and Symphony, is a mid-tempo Folk Rock
almost sing-along song that resembles the essence of Strawbs’ Part of the Union while the troubled
seas set to a symphonic arrangement in the styles of Tchaikovsky in a mourning
lyrical beauty for the Wreck of the
Hesperus.

And with the hymn-like lyrics that I always imagine the
group recording this beautiful composition in a Church with Pilgrims Progress featuring the organ
setting the haunting tone throughout the piece, it will make you get the Kleenex
box for it. The Milk of Human Kindness is
such a wonderful track with a music hall rhythm thanks to the piano introduction
that is very much like if Scott Joplin had wrote it for them and see what they
can do with it.

The dramatic All This
and More, is a spectacular yet ascending composition. Brooker and Trower
are brilliant together with awe-inspiring magnitudes by following a trombone
section in the finale section as Brooker shines through his vocals. Robin
Trower comes in with his vocals. Now I’ll admit, he’s not the best singer in
the world, but the song Crucifiction Lane
is in the styles of the Stones, Aretha Franklin, and Otis Redding with a gospel
flavor of the lyrics of the seaside.

The bonus tracks on the second disc, features BBC Sessions
they did for David Symonds on Sunday, John Peel’s Top Gear, live performance in
the States on April of 1969, the heavy nugget of Procol Harum going into a
Proto-Hard Rock eruptive keg of Long Gone
Geek, a Mono single version of the title track (A Salty Dog), and a backing track.

The live performances is not in the best condition it is,
but you can imagine yourself being in front of the stage being in awe of Procol
Harum at their best and not to mention the dazzling take of Skip Softly (My Moonbeams) and having
the theme to 2001: A Space Odyssey (Also
Sprach Zarathustra) as a climatic finale before breaking into the Sabre
dance, makes it a wowing performance. It would also be Bassist David Knights
last album as he would be a manager for Mickey Jupp’s Legend.

The 19-page booklet which features liner notes by Henry
Scott-Irvine, who knows his stuff as I’ve mentioned before, the Sherlock Holmes
of Procol Harum, does an amazing job on the notes and interview with the band
and features memorabilia and pictures of the group. Mark and Vicky Powell
again, have done well for the Esoteric reissue of Procol Harum’s classic and I
hope they do more in the years to come.

And if you want proof, just ask either Martin Scorsese or
Sylvester Stallone.

Tuesday, August 4, 2015

Among endorsements including Roger Waters of Pink Floyd who
have brought them international acclaim when they re-written the Floyd’s
classic of Another Brick in the Wall with
Hey Ayatollah, Leave them Kids Alone
back in 2010 in which the group Blurred Vision formed, it shows how much
potential they will have and bring into their musical landscapes for the trio.
Carrying the aspects of Prog, Pop, Psych, and Indie Rock, Blurred Vision
considers the Osley brothers. Sohl on Bass and Lead Vocalist/Guitarist, Sepp.
And drummer Ben Riley to complete the three-piece trio.

Their debut album released this year entitled Organized Insanity reveals the stories
of the modern world on the controversial issues between politics, religion,
war, and what is happening in the music industry. And when you have Terry Brown
who has worked with Rush, FM, Klaatu, Max Webster, and The Who to name a few,
it is a perfect combination. And for me, this is musical landscape that the
Canadian trio have brought to the fore-run.

I was in awe and just completely blown away of the structures
of not just the Prog and Psych-Indie Rock flavor to it, but how they managed to
pull it together and creating the score of living in the world that we, the
listener, are living in. And how the new generation are facing in the world
right now and making the first chapter on how to survive and pushing it
through.

The thumping-guitar rhythm and drums and electronic
vibrations come kicking in to start a revolution to stop the killings that
gives it an excellent message with the melodic-pop touch to it with the opener,
No More War. Both Sohl and Sepp were
born in Iran. And the lyrics capture the atmosphere of what is going on today
and hopefully to bring peace and understanding.

Rollin’ On shows
their love of the sound of Roger Waters lyrics with a haunting tone with
Electric Keyboards, bluesy melodies, and not to mention the reminiscent of The Pros and Cons of Hitch-hiking while
the intense rhythm goes into a climbing tune for Promise. Since I’ve mentioned the message of peace earlier, the acoustic
beatle-sque ballad of Dear John will
have you in tears.

It’s a message again in the opening track, but to hope and
pray for a new day of Peace. I love the Beatle touches in the styles of Sgt. Pepper and Abbey Road and Blurred Vision know the message of hope will happen
one of these days when the time is right and the time is now. And the
middle-eastern touches of the eerie moments come swarming in with The Keeper.

You can imagine yourself walking on a tightrope and not
knowing if someone is going to cut it or falling off, you have to hang on for
dear life to make it to the next level and the song itself captures the dangers
and the essence of an expectation is coming towards it. Tonight is such a wonderful song. At first begins with a melodic
ballad but it goes into a lively feel in the styles of Porcupine Tree’s The Incident-era that would make Steven
Wilson proud in the styles of Drawing the
Line.

Blurred Vision really shows a lot of potential in their
sound and the Prog-Psych-Indie pop flavors go really well on their debut. I can’t
wait to hear more of their music in the years to come and I think that Organized Insanity is for me, a warm
welcome for the debut of a band that is going to shine through.

Sunday, August 2, 2015

For me, I enjoyed the sub-labels that are a part of Cherry
Red Records. Esoteric Recordings, RPM, and now Grapefruit Records. This year,
Grapefruit have scored another home run in the world series of amazing
compilations with the release of the 3-CD set entitled, Dust On The Nettles: A Journey Through the British Underground Folk
Scene 1967-72. There are 63 tracks that cover the other side of the British
Folk scene that carry the essence of both Psychedelic, Electric, and Acid Folk
sounds and showing that it isn’t just Joan Baez, Bob Dylan, Joan Collins, and
Pete Seeger.

But more of the guard of the most known and obscure bands
and artists that you may or may not be familiar with, is interesting and
exploring why some of them were ahead of their time. There’s also a 36-page
booklet featuring liner notes and history of the underground folk groups and
artists done by David Wells who has done another job well done for this amazing
compilation to capture the mystery and beauty of the genre.

You have the most important figures on there including
Pentangle, Fairport Convention, Steeleye Span, Joan Armatrading, and the
Incredible String Band to name a few that opened the door to name a few of the
Folk scene. And not to mention Tyrannosaurus Rex which would transform itself
from a Folk duo in the realms of ‘70s Glam Rock that would give Marc Bolan a
rise into superstardom to Ride a White Swan.

But alongside the important pioneers of the British Folk
scene, there is the hidden treasures that were often overlooked and obscured in
the genre that have been given about time some listening and recognition they
are deserving big time. There’s Spirogyra, Trader Horne, Trees, Heron, and
Dando Shaft to name a few. And the highlights throughout the box set, is
interesting and worth checking out to sink your toes into the Folky oceans.

The gothic-mourning touches of Trees’ The Garden of Jane Delawney sung by Celia Humphris, just sends
shivers down my spine of a dream not discovering. And for Bias Boshell’s
lyrics, it’s poetic and almost as if it could have been written during the
middle ages in the Renaissance period. And not to mention, the haunting beauty
of the Willow’s Song done by Magnet
from the 1973 cult classic, The Wicker
Man while Joan Armatrading gives it an Acid Folk taste of a ballad
featuring the sitar of the Visionary
Mountains.

There’s also a rare recording of Steve Peregrin Took after
being sacked from Tyrannosaurus Rex carrying the Folk Paean touch to Mandrax
whilst recording the piece in Denmark Street at Central Sound Studio in 1969 of
Amanda, makes it very interesting and
Steve sings interestingly well. The beautiful haunting piano ballad of space
and time of Shelagh McDonald’s Stargazer,
shows potential symphonic folk at it’s best as Beau comes in with a
Folk-turned-Psych Rock in the essence of Pink Fairies Never Never Land-era of Silence
Returns.

But I really love Trader Horne’s The Mutant. It has a piano-acoustic-flute sci-fi touch of a
creature is in danger of death. It has a Jim Croce feel of a waltz in a creepy
yet interesting tone that Jackie McAuley wrote in a singing/whispering speaking
tone. Not to mention the fade away Jazz Piano ending.

I really enjoy this amazing 3-CD set. Not just because of
the music, but the way it’s a trip through time of the what was and why some of
the bands and artists never got any recognition in the obscured and overlooked
treasures. Only thing I was a little disappointed that bands like Tudor Lodge never made it on there, but I must digress.

David Wells has finally brought a lot of amazing research to this
compilation and I cannot wait to see what Grapefruit Records has in stores for
more of the psychedelic releases they will release this year and the years to
come.

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About Me

I'm a blogger/freelance writer from Houston, TX who writes album reviews because I enjoy it. Even though, I'm not the best writer, there is no stop sign for me. I have a love of Progressive Rock music, Jazz Fusion, and Early Heavy Metal music from the '60s to the early '80s. I went to HCC (Houston Community College) for nine years and have completed my degree in Music in Performance: Jazz Studies. I've been writing Progressive Rock and Symphonic Metal reviews starting back in 2008 on my blogsite and it never gets old.